by John Kenrick

The composer writes the music  the lyricist writes the words. It is not unusual
for one person to act as both composer and lyricist. In most cases, composers leave
the dances or underscoring to the orchestrator and dance arranger. (See our section
on Elements of a Musical for more on scores.) Some lyricists act as their own
librettists. Only a very few people have succeeded as composer, lyricist and librettist
 such as George M. Cohan, Noel Coward, Meredith Willson and Jonathan Larson.

For many years, Broadway composers and lyricists made
much of their income from the sale of sheet music. With the change in musical tastes and
the near-disappearance of sheet music, they get little beyond the chance to share 2% of a
show's profits and (if lucky) part of the long-term rights income if the show is ever
leased for international and amateur productions. The only way for theatrical composers or
lyricists to "strike it rich" is to become their own producers - as Andrew
Lloyd Webber did with his Really Useful Company.

Also called the "book writer," the librettist creates the book
 or script  of a musical. In musicals where the dialogue is almost
completely replaced by music (Cats, Phantom of the Opera, Les Miserables), the
librettist is essentially responsible for making sure everything weaves into a coherent
dramatic flow. Librettists are most often blamed when a show fails, and not without
reason. A show with a strong score and a bad libretto usually fails, while a show
with a so-so score and a great libretto usually succeeds. (Note: The success
of Footloose and Saturday Night Fever seems to contradict this once-solid
rule.) (Our section on "Elements of a Musical" has more on musical books.)

Up to the 1940's, writers and producer's had the concept - the director was expected
to stage a show and supervise rehearsals in a way that made that concept shine through.
Starting in the 1950's, directors took an increasing degree of control over the creative
process. Today, few producers or writers have the clout to overrule a top director's
decisions.

The person who stages the dances and musical scenes of a show
was once called the "dance director," but the title changed when
ballet choreographers like George Ballanchine and Agnes DeMille began
working on musicals. Since the 1940's, many musicals have been staged by
directors who also choreograph. A choreographer must give a musical a sense of
movement that helps hold the show together visually.

Until the 1970's, even the most lavish Broadway productions used painted flats
as sets, creating 3-D paintings that were more suggestive than realistic.
Since the 1970's, sets have become increasingly realistic, taking up more space and far
more of a show's budget. Sets must move swiftly, allowing a show to flow seamlessly
from one scene to the next. Scenic effects can make or break a contemporary
musical, but you know a show is in trouble if audiences leave the theatre
"humming the sets."

Whatever you see a Broadway actor wearing onstage did not come off a store
rack. Stage costumes have to stand up to heavy use and daily cleanings  and last
for as long as possible without looking threadbare or tattered (unless they are for
the beggars in Les Miz). Designers must balance sturdiness with the needs of
performers to dance and sing comfortably. When the original Kiss Me Kate
(1948) ran short of money, designer Lemuel Ayers used heavy-duty curtain
fabric for some of the period costumes.

This is one of the least noticed and yet most crucial members of the creative team.
Costumes, sets and actors are not worth a damn if no one can see them. With the
exception of the music, nothing sets the mood for a scene as quickly or clearly as the
lighting. This is one of the least noticed and yet most crucial members of the
creative team. Costumes, sets and actors are not worth a damn if no one can see them.
With the exception of the music, nothing sets the mood for a scene as quickly or
clearly as the lighting.

The musical director is much more than the conductor of the orchestra. He or
she is in charge of everything involving the musical aspects of a show --
from song rehearsals to maintaining musical performances through a show's
run. Consequently, the MD has a tremendous effect on the sound and pacing
of performances. An MD must be ready to smooth over technical glitches,
reassure uncertain understudies, and handle anything else that
might stop the music. The MD is also in charge of hiring and managing the
orchestra. In many cases, the musical director is a frequent absentee, and
hires a conductor to stand in at some or all performances.

This technically demanding position was not credited in Playbill
listings until the 1980's. In the 1950's, a stage manager
just turned on some foot mikes at curtain time, allowing basic amplification
for the folks in the balcony. Now everyone in a Broadway cast
wears a wireless body mike to provide full amplification  a complex
proposition when there are dozens on stage. Through the 1990s, many
complained that theatrical amplification could be distracting, but technical
improvements have led to much more naturalistic sound in recent years.
Technical staff are on hand during all performances to check each piece of
equipment and continually adjust every microphone's input levels  a task
managed from a bank of computers, usually stationed at the rear of the orchestra
section.

The composer writes the melodies, but the orchestrator determines what those melodies
will sound like when an orchestra plays them. For example - Richard Rodgers wrote the
melody of "Shall We Dance," but orchestrator Robert Russell Bennett made its
famous "BOOM, BOOM, BOOM!" sound a reality. The challenge for orchestrators is
to make sure their arrangements do not drown out the singers  a task made much easier
by electronic amplification. Most composers let orchestrators create the overture as well
as the underscoring and scene change music.

Composers frequently allow dance arrangers to handle the time consuming task of
working with a choreographer to score the dance sequences. Shows with minimal dancing may
not have a dance arranger at all, leaving that function in the hands of the orchestrator.